Language versus Will: The Poetics of Harold Bloom
Over the last fifteen years Harold Bloom has been elaborating a ‘diachronic rhetoric’ uncomprising enough to provoke and alienate adherents of every current critical school, yet impassioned enough in its formulation and practice to constitute a revised ‘defence of poetry’ in the face of unfamiliar challenges. His studies of the post-Renaissance literary imagination have totally refashioned the concept of influence in the shape of a psychic and rhetorical struggle against the intimidating presence of the ‘mighty dead’, and have put the Sublime — a ‘greatly altered’, because more dialectical, Sublime — firmly back on the map of contemporary criticism; Bloom himself has emerged as both theorist and protagonist of this altered Sublime. Though he has succeeded in putting more backs up than most critics would probably aspire to, Bloom has had a qualified appeal for a largely American audience,1 and the reasons for this are not hard to find. For through a revisionary poetics which, while abnegating naive myths of authorship and originality, offers a wide hermeneutic franchise to the strong-willed latecomer poet or reader, he has at once departed cleanly from the idealisms of traditional literary criticism and staked out a defensible field of play for the creative personality in face of the indefatigable negations of the deconstructors.
KeywordsPrimal Word Creative Personality Paradise Lost Diacritical Mark Spatial Projection
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